Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Azerbaijan and from Portland.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1960 to 1970.
I'm losing my edge.
To all the kids in Stockholm and Shanghai.
I'm losing my edge to the art-school Toronto kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1979 at the first Second Layer practice in a loft in South London.
I was working on the spring reverb sounds with much patience.
I was there when Michael McDonald started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Rod Modell to the jazz kids.
I played it at Trash.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by The Electric Prunes. All the underground hits.
All Marvin Gaye tracks. I heard you have a vinyl of every Bluetip record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Robert Hood record.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron & Brian Jackson,
The Gun Club,
The Velvet Underground,
Wighnomy Brothers & Robag Wruhme,
Malaria!,
The Birthday Party,
Gary Puckett & The Union Gap,
Althea and Donna,
Danielle Patucci,
Morten Harket,
Rosa Yemen,
The Offenders,
The Seeds,
Matthew Halsall,
The Young Rascals,
Freddie Wadling,
Warsaw,
Mantronix,
The Human League,
Pagans,
Agent Orange,
Fugazi,
World's Most,
Derrick May,
The American Breed,
Bobby Sherman,
Lee Hazlewood,
Pantytec,
Basic Channel,
Cymande,
the Germs,
Sixth Finger,
Kas Product,
Kerrie Biddell,
Popol Vuh,
Scion,
The Motions,
Bush Tetras,
The Black Dice,
Sound Behaviour,
Motorama,
Nirvana,
Excepter,
Mandrill,
Audionom,
Roy Ayers,
Ajijia Myrayebe,
Royal Trux,
La Düsseldorf,
Crime,
A Certain Ratio,
Stiv Bators,
Kurtis Blow,
Fear,
Guru Guru,
The Cramps,
Ronan,
Lightning Bolt,
Janne Schatter,
Banda Bassotti,
Robert Wyatt,
Ituana,
Eric Dolphy,
Chris Corsano, Chris Corsano, Chris Corsano, Chris Corsano.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.